BEGIN:VCALENDAR VERSION:2.0 PRODID:-//OZSW - ECPv5.1.2//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:OZSW X-ORIGINAL-URL: X-WR-CALDESC:Events for OZSW BEGIN:VTIMEZONE TZID:Europe/Amsterdam BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20180325T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20181028T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20180125 DTEND;VALUE=DATE:20180127 DTSTAMP:20200706T203143 CREATED:20170404T113231Z LAST-MODIFIED:20170502T132745Z SUMMARY:Conference ''The Icon as Cultural Model: Past\, Present and Future'' DESCRIPTION:Journalists\, artists and scholars\, among others\, tend to refer to iconic events or images from the past in order to better understand present-day developments. For example\, in the wake of the American elections media repeatedly referred to the iconic ‘years of crisis’ of the thirties of the last century. Also\, they recalled George Orwell’s iconic depiction of a dystopian society from his novel 1984 to contextualize the use of ‘alternative facts’. In this respect\, the icon functions as a cultural model that generates cultural meaning by connecting past and present. But the icon not only shapes our (collective) image of the present\, nor does it merely re-evaluate our image of the past. It also opens up potential scenarios for the future – be it brilliant or gloomy. \nThe making of specific icons is a much-studied topic in cultural studies\, literary studies\, art history and even in the history of science. However\, theoretical and/or synthesizing studies on how the icon functions as a cultural model from which we can learn how to act or perform in certain contexts are scarce. The conference ‘The Icon as Cultural Model’ wants to fill this gap. \nFirst\, it will do so by addressing different manifestations of the icon. Traditionally understood as a static visual image\, the concept of the icon is also used to refer to: \n\na specific period (e.g. the thirties or sixties\, the Enlightenment or Golden Age);\na specific place (e.g. Waterloo or Woodstock\, cities like Amsterdam\, Rome or New York\, or imaginary places such as Orwell’s ‘Oceania’);\na specific person (e.g. Christ\, Michelangelo\, Mae West);\na specific phrase (such as Descartes’ ‘I think therefore I am’ or Clausewitz’ ‘War is the continuation of politics by other means’).\n\nStatic as the icon may be\, its evaluation by different groups (artists\, scholars\, politicians) can change through time. Recently\, scholars have shown an increased interest in phenomena linked to the theme of the icon: e.g. fan culture and celebrities\, artists’ self-representation\, cultural marketing\, and processes of canonisation. This poses the question why at present the search\, and explication of\, cultural models appears to be so highly relevant. By posing this question the conference’s second aim is to encourage reflection on how the icon has functioned and still functions as a cultural model (and how it can be studied as such). \nIn addressing the icon as a cultural model the conference explicitly aims at bringing together scholars from various disciplines such as art history\, literary studies\, history and philosophy. In this way the conference wishes to offer room for joint interdisciplinary reflection on the question how the study of cultural models may contribute to our understanding of the dynamics of culture in general. \nPaper submissions \nWe welcome abstracts for papers (20 minutes max. excluding discussion). Contributions can address\, but are by no means limited to the following aspects: \n\nHow do periodical concepts like the ‘Golden Age’\, ‘Enlightenment’ or ‘Renaissance’ function as icons? How does the evaluation of these concepts by artists and/or scholars change through time? And how can we study this shifting evaluation?\nHow do both general spatial notions such as the ‘city’ (as opposed to the ‘country’ or to ‘nature’) and specific places function as models for writers\, philosophers and artists?\nHow do specific historical events become iconic? Who attributes power to these events? And how\, why\, and by whom are their cultural meanings rewritten?\nHow do artifacts such as novels\, poems\, paintings\, sculptures\, and films construct iconic images of the past and/or future? How can we study iconic representations within these artifacts?\nHow\, and for whom\, do certain phrases from philosophers\, politicians or artists function as icons? What are the contexts that make phrases iconic?\nHow do specific historical persons function as icons in art\, philosophy and scholarship? And how can we study these cases in the broader context of the study of cultural models?\n\nNote: all papers’ conclusions should include a statement on how cultural icons may contribute to an increased understanding of the dynamics of culture in general. \nAbstracts of papers consist of approx. 250 words and should include the name of the speaker\, affiliation\, full contact address (including email)\, the title\, and the summary of the paper. \nDeadline for abstracts is 1st of July\, 2017. A notification of acceptance will be sent no later than August 15th\, 2017. Abstracts can be sent to Marieke Winkler via Papers will be selected for publishing in the conference proceedings. \nPractical information \n\nOrganization: Humanities Department of the Open University\, the Netherlands.\nConference location: Utrecht\, the Netherlands.\nContact: Marieke Winkler via\nWebsite:\n\n URL: LOCATION:Open University\, Utrecht\, Utrecht\, Netherlands CATEGORIES:Ethics & practical philosophy,External (non-OZSW) event ORGANIZER;CN="Marieke%20Winkler" GEO:52.0907374;5.1214201 END:VEVENT END:VCALENDAR